erfan rajabi; Jalal Sokhanvar
Volume 15, Issue 21 , October 2019, , Pages 179-198
Abstract
This study aims at investigating the production of space in Zero K (2016) in terms of Henri Lefebvre’s spatiology. Lefebvre conceptualized space as being comprised of three moments: the spatial practices, the representations of space and spaces of representation; on the one hand, and the conceived-the ...
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This study aims at investigating the production of space in Zero K (2016) in terms of Henri Lefebvre’s spatiology. Lefebvre conceptualized space as being comprised of three moments: the spatial practices, the representations of space and spaces of representation; on the one hand, and the conceived-the perceived-the lived, on the other hand. The analysis demonstrates that the characters create their own spaces individually or collectively, each in their own way. On a broader scale, the novel divides into two kinds of space: the abstract and the differential. But on a closer analysis, the character-narrator, on the one hand, uses a set of literary practices such as climax, anticlimax, register shifts, description, humor, iron, incongruity, word coinages and plays, and , on the other hand, everyday practices such as love, walking, bodily activities to defend himself against the rampant growth of the abstract space. In addition, the very act of novel writing could be taken as producing spaces of representation against the representations of space in the society. In the light of lefebvrean spatiology, some of the literary techniques could be redefined as space-producing ideological practices, too.
Maryam Moradi; Marzieh Rahmani
Volume 12, Issue 16 , April 2016, , Pages 237-258
Abstract
It is more than one century that the issue of interactional relationship between language and culture has become the concern of scientists In many anthropologists’ opinions, Language is counted as an element among other elements in culture as socially acquired knowledge. Meanwhile, the transference ...
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It is more than one century that the issue of interactional relationship between language and culture has become the concern of scientists In many anthropologists’ opinions, Language is counted as an element among other elements in culture as socially acquired knowledge. Meanwhile, the transference of culture in learning the languages is effective and presence of a big extent of linguistic species depends on cultures’ existence as well. In each culture, there are thousands of symbolic artificial systems and all of them are such models of language reflecting its properties. On the other hand, language is a complete system that through utilizing its words and meaning is able to surround the culture with its all borders as well as the society with its all complexities within itself. In the present study, the relationship between language and culture in linguistic view as appeared mainly in the language relativism hypothesis is studied. In this paper, the authors’ aim is to describe and subsequently analyze the experts’ opinions in this field aiming to describe the relationship between language and culture in the form of different cognitive science approaches. The method used for this paper is library-oriented one. The study’s findings suggest that there is an interactional relationship between language and culture. On the one hand, language is the main instrument of culture and the necessary condition of it, on the other hand, it is considered as a part of the culture and cultural product.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
To investigate the problematics of the representation of female subjectivity and gender identity in Pinter’s drama, the present research adopts Judith Butler’s poststructuralist feminist views as its theoretical framework and applies them to one of the dramatist’s most celebrated plays, “Old ...
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To investigate the problematics of the representation of female subjectivity and gender identity in Pinter’s drama, the present research adopts Judith Butler’s poststructuralist feminist views as its theoretical framework and applies them to one of the dramatist’s most celebrated plays, “Old Times”. In her theory, Butler focuses on such issues as the representation, construction and subversion of gender identity as part of her commitment to redress sexual oppression. Rejecting the idea of a substantial internal gender core, Butler promotes her theory of performative gender identity: the idea that gender is constructed through the stylized repetition of some ritual acts. The critic, moreover, locates the site of subversion and agency in such performative acts as parodic repetition and impersonation that displace regulative norms through hyperbole, dissonance and internal confusion. The study of Pinter’s representation of female identity and subjectivity in the light of Butler’s critical theories reveals that the prevailing sociocultural discourses function to naturalize woman’s identity and to introduce heterosexuality and binarized gender identities as the only normal type of sexuality. Pinter’s female characters in “Old Times,” however, challenge the imposed identities and roles through such subversive performative acts as the foregroundation of the constructed nature of the binarized gender identities, the heterosexual matrix of intelligibility, and the relations of coherence and continuity between sex/gender/desire/sexuality. Through their subversive performative acts, Pinter’s female characters also manage to displace the archetypal identities and roles assigned to them through the adoption of such strategies as parodic repetition and impersonation
Volume 6, Issue 2 , June 2014
Abstract
The story of Annis by Simin Daneshvar which is published in his short stories collection named "To whom I may say hello?" is an adaptation of the story of The darling by Anthon Chekhov. Both stories narrate the story of a woman which has no idea and thought from herself and after marrying with different ...
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The story of Annis by Simin Daneshvar which is published in his short stories collection named "To whom I may say hello?" is an adaptation of the story of The darling by Anthon Chekhov. Both stories narrate the story of a woman which has no idea and thought from herself and after marrying with different men take their beliefs and attitudes. Although the plot of both stories is similar and inter-textual of both works is clear, Daneshvar changed somehow the theme of the story using modern narrative methods. Daneshvar provide a critical view from patriarchal society through an especial characterization and also by lining up and approaching the narrator of study to character's perspective. However in story of Thedarling, the narrator clears Chekhov's critical view of women by approaching toward author's figurative standpoint and receding from main character. Regarding the concepts introduced in the time of narration, Daneshvar uses a more complex method. Using mixed retrospect which is one of the most complex retrospect, he makes adaptation narrative format more complex and interesting. Although Daneshvar adapts the plan of the story from Chekhov, she improves this adapted plan and doesn’t follow narrative style of Chekhov. It is attempted to compare both study in this article using narrative elements and definitions of these concepts provided by narrators and examine evolution trend of the plot adapted by Daneshvar
Nasrin Elahinia; Tahereh khameneh Bagheri
Volume 15, Issue 21 , October 2019, , Pages 15-32
Abstract
The present article seeks to study the concept of "attentiveness" in translation studies.This concept was introduced for the first time in psychology, then in second language teaching.In the field of translation studies, we will talk about "the attentiveness of the translator." Firstly, we refer to the ...
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The present article seeks to study the concept of "attentiveness" in translation studies.This concept was introduced for the first time in psychology, then in second language teaching.In the field of translation studies, we will talk about "the attentiveness of the translator." Firstly, we refer to the explanation of the concept from the point of view of its exponent, Eric Berne, and then we will use this version in the translation studies. From the importance of translation in the present era, we will find the importance of the translator and we will see that the interpreter, through translating, needs to be seen and filled with gratitude. In another part of this article, we will examine the causes of the attentiveness of the translator's paradoxical branches, the death and survival and contribution of the translator in power. A part of the forthcoming article is devoted to translators and interpreters will to take the form that we will explain.
Volume 11, Issue 15 , October 2015, , Pages 41-72
Abstract
In spite of numerous narratives about slavery and its multi-dimensional effects, and huge amount of critical examinations and readings rendered on African – American productions, this traumatic phenomenon in human history has never lost its immense significance through various discourses. The present ...
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In spite of numerous narratives about slavery and its multi-dimensional effects, and huge amount of critical examinations and readings rendered on African – American productions, this traumatic phenomenon in human history has never lost its immense significance through various discourses. The present article tries to re-open Gayl Jones’ novel, Corregidora, as one of the most distinguished works in African – American literature with a critical concentration on the inevitable impacts of sexual and specifically homosexual exploitation of slavery era under the light of an archetypal approach toward the issue of posttraumatic stress disorder in female identities of the story. Mostly, the novel has gone through psychoanalytical, feminist and historical critiques and primarily as a text of individual and cultural trauma, which depicts the long lasting influences of slavery on the modern African – American identity. The current article tends to investigate the narrative significance of Ursa Corregidora’s traumatic response towards homosexual stimuli in addition to the role of collective memory on its formation. Indeed, through the archetypal analysis, the article quests for the symptoms of sexual disorder like that of the Corregidora’s white wife. Moreover, it attempts to show how the hierarchical, power-based and patriarchal system of slavery transforms its subjectivities into unstable and traumatized identities. Finally, the ultimate purpose of the article is to demonstrate that slavery as a cultural traumatic phenomenon has not chosen its victims, but, every single subject in this hierarchical system has gone through a burden of physical and psychological injuries rooted in a collective unconsciousness.
Kaveh Bahrami
Volume 14, Issue 19 , October 2018, , Pages 57-76
Abstract
Erich Drach is the first linguist to present the pattern of sentence components in German more than eighty years ago. From then on, on the one hand, a simple Dahl pattern at first and on the other hand language developments, led linguists to develop this model. The pattern presented by this German linguist ...
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Erich Drach is the first linguist to present the pattern of sentence components in German more than eighty years ago. From then on, on the one hand, a simple Dahl pattern at first and on the other hand language developments, led linguists to develop this model. The pattern presented by this German linguist today has to contain complex models of German language. In this paper, in addition to introducing this template, we introduce a variety of sentences in German and the arrangement of structures in this model. We will also try to show compulsory and optional placement of structures in each of the sites specified in this template. The results of this study show that all model positions should not be occupied. The position of the verb and the sentence type is in the basis of the base or the follower in determining the position and arrangement of the structures.
Ensiyeh Darzinejad; Leyla Baradaran Jamili
Volume 14, Issue 18 , June 2018, , Pages 59-85
Abstract
Leila Aboulala (1964 -) is a Sudanese-Egyptian Muslim novelist who lives in the Scottish diaspora. She is one of the emigrant Muslim women writers who try to initiate a new discourse in their literary works. In her diasporic discourse she challenges the depiction of the identity of Muslim women as innate, ...
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Leila Aboulala (1964 -) is a Sudanese-Egyptian Muslim novelist who lives in the Scottish diaspora. She is one of the emigrant Muslim women writers who try to initiate a new discourse in their literary works. In her diasporic discourse she challenges the depiction of the identity of Muslim women as innate, timeless, and static and represents the subjectivity of her female protagonists as performative. In this respect the subjectivity of Muslim woman is a "doing" rather than a "being" and each step she takes makes her approach the Islamic subjectivity or deviate from it. The theories of William Safran, James Clifford, and Homi K. Bhabha are consulted to delineate diaspora an its capacity for discourse formation. Judith Butler's performative theory is used to investigate the performativity of subjectivity of the Muslim women in Aboulela's novels. The performativity of language and cultural practices like sartorial practices, culinary preferences, and religious rituals are the pivotal points of this article.
فروغ اولاد
Abstract
Eliot’s The Waste Land, enjoying mythopoeia as a modern literary-artistic gnre, contains both ancient and modern myths and archetypes. However, the difference of this mythmaking with other works is that the poet, using the ancient and historical mythical themes, has created the modern myths of ...
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Eliot’s The Waste Land, enjoying mythopoeia as a modern literary-artistic gnre, contains both ancient and modern myths and archetypes. However, the difference of this mythmaking with other works is that the poet, using the ancient and historical mythical themes, has created the modern myths of his age. In other words, he has modernized the archetypes. The mythic themes analyzed in this reseach have been divided into some groups: the ancient myths, historical-literary myths, modern myths, and the apocalyptic or salvation myth. Through merging these mythical themes, the poet could depict a “waste land” that lies on a bed of 20th century history and culture. The motif of the work is in contemporary environmental disastors and the lack of spirituality that made human life tragic and changed the world as a non-exhistable rocky land where as though the livings are dead. The poet opposes with anti-nature deeds depicting modern chaos. Myths and archetypes discussed in the poem are: Cybele, Tiresias, Hyacinthus, Philomela and Cupidon; historical-literary myths of Carthage, Phlebas the Phoenician, Tristan and Isolde; modern myths such as the waste land, rocky land, Madam Sosostris, the Hanged Man; and the Indian eschatological myth.
Ladan Mokhtarzadeh; Zahara Jannessari Ladani; Negar Sharif
Abstract
Introduction: The present study examines Louise Erdrich's novel The Round House in the light of Patrick Colm Hogan’s affect notions of narrative concerning the emotional experiences of the subjects. This paper attempts to trace the concepts of affect, emotional narrative, eliciting conditions, ...
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Introduction: The present study examines Louise Erdrich's novel The Round House in the light of Patrick Colm Hogan’s affect notions of narrative concerning the emotional experiences of the subjects. This paper attempts to trace the concepts of affect, emotional narrative, eliciting conditions, simulation, modulation and rationalization of emotion in Erdrich’s novel in order to explore how emotions are simulated, modulated and rationalized in the narrative, particularly, in what affects the narrative and the subjects in fiction. The present paper, specifically, demonstrates how Erdrich’s mentioned novel acts as an example for the affect study and narrative of emotion that vocalizes the suffering and violence against the women in the Native American population of the Ojibwa, and consequently the whole population, the ones which have not been divulged due to social and ontological factors. Erdrich's novel is an attempt to narrate the painful experiences of women, which of course embraces men and the entire population and history of the Indians.Background of Study: Louise Erdrich’s fiction explicitly articulates conceptions that highlight the contemporary Native Americans’, specifically Ojibwas’, concerns primarily with the themes of history, land, love and hate, violence, injustice and survival. They illustrate the impacts of a devastating experience that disturbs the subject’s self and identity, a traumatic experience that has the capacity to remain overwhelmingly present. Her narrators range from the single to the multi-ones, reflecting the past through the present experiences and the affect on the subjects and their emotional concerns and obsessions. In order to survive, the subjects either surrender their emotions or endeavor to maintain their positions or ignore their emotions and flee their history, land and geography and real selves. The emotional narrative of events, such as the rape of the mother of the Indian family, along with the parallel elaborations of the violence against three other women in the community, is central in RH. The spirit and emotion of the Ojibwa are blended in her work, seeking the desire to alter the situation for the better.Methodology: This study examines the ontological and epistemological paradigms in the life and history of Native Americans that have been silenced or rarely addressed due to social and ontological factors. The study thus investigates the ontological and epistemological paradigms in Native American life and history experienced by Ojibwa survivors. In addition, it argues how emotionalogy works for the minority subjects and how the notion of affect in terms of Hogan’s theory is traceable in Erdrich’s novel. In The Round House, the affected women and survivors are haunted with the emotional memory vocalized by the single adult narrator to reflect the past trauma in order to bring great changes for the women as well as the whole nation. Erdrich’s goal is to gain ontological and epistemological rights to the Native American community. The purpose of the present study is to read the impact of Hogan's emotion and emotion on Erdrich’s attempt to obtain ontological and epistemological improvements for Native American society.Conclusion: Erdrich initially as a Native women and subsequently as an Indian author goes through a battle for portrayal of the women condition in the reservation. Such battle is Erdrich’s style of modulation for relieve the painful emotions elicited not only in the women spirit and body but the whole generation. Erdrich’s fiction is her tool to gain modulation in the present collective and improve the life condition for the next generation, the modulation that fosters the ontological and epistemological emotions and values.
Abdollah Baradaran
Volume 13, Issue 17 , October 2017, , Pages 69-78
Abstract
If we presume the process of translation to a Habermasian “communicative action”, then we may just as well have to delineate the theory of translation under the rubrics of a general theory of communication as has been the case with a concept like discourse analysis. Evidently, the same logic applies ...
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If we presume the process of translation to a Habermasian “communicative action”, then we may just as well have to delineate the theory of translation under the rubrics of a general theory of communication as has been the case with a concept like discourse analysis. Evidently, the same logic applies to semiotics in the realm of human language. Therefore, applying intertextuality which is one of the most decisive guiding principles of semiotics, as a practical approach to the theory, practice, and criticism of translation will prove useful. After a sweeping review of the fundaments and applications of semiotics in the field of linguistics and in translation studies, in particular, the present article will highlight a brilliant example of the semiotic approach to literary translation from the contemporary history of translating classical English literature to Farsi.
Zahra TaghaviFardoud
Volume 12, Issue 16 , April 2016, , Pages 71-83
Abstract
For Freud, the literary work is like a dream, a burst of the psyche of its author. Plunged into literary work, he discovers the internal knots concerning the author's past. He discovers in the afterlife of the second self the author who appears in the work, his true self that touches life in flesh ...
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For Freud, the literary work is like a dream, a burst of the psyche of its author. Plunged into literary work, he discovers the internal knots concerning the author's past. He discovers in the afterlife of the second self the author who appears in the work, his true self that touches life in flesh and blood. Bachelardian psychoanalysis is linked not with unconsciousness but with the awakening, consciousness and psychic coherence of the dreamer who creates the work. Reverie gives the dreamer the possibility of producing the image in the moment. Thus, contrary to the petrified image of Freud represented in the dream, the Bachelardian image is dynamic, spontaneous, and cut off from the past. Since the images of reverie appear at the moment as they are, the word ontology finds its own meaning. Moreover, Bachelard's reference to psychoanalytic methods plays a large role in obtaining objective knowledge. In Bachelardian reverie, mind, consciousness and imagination are centered on the material world. This is the reason why the problem of Phenomenology is involved. The penetration into the center of the material world will activate the soul and heart of the artist, sending the images directly into his consciousness. Such a splendor of image in all its purity requires a subject that leaves presuppositions, entering by freedom of expression into a new world, and thus representing this novelty in a new verbal form. Undoubtedly, unexpected characteristics of the pure image have no meaning in psychoanalytic science which is in search of the repressed events of the past. The contradiction between the causality of the Freudian image and the ontology of the Bachelardian image requires different reading practices. Bachelard's method is based on a careful reading of the works, for identification with the creative reverie of the author at the moment when he created his work. The Freudian reader intends to unveil the work to discover the pass of its author.
Volume 10, Issue 14 , October 2015, , Pages 77-109
Abstract
چکیده
خوانش تراژدی هملت تا نیمه اول قرن بیستم بر اصول انسان باوری بنا شده بود. نقادان، شخصیت تراژیک شکسپیررا با ادیپ کلاسیک قیاس میکردند. این تفسیرروانکاوانه، هملت را ...
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چکیده
خوانش تراژدی هملت تا نیمه اول قرن بیستم بر اصول انسان باوری بنا شده بود. نقادان، شخصیت تراژیک شکسپیررا با ادیپ کلاسیک قیاس میکردند. این تفسیرروانکاوانه، هملت را چون بیماری درآزمایشگاه روانشناسی قرارمی داد. با تصویری کلینیکی همچون بیماری که روی تخت درازکشیده اورا روان پریش تشخیص داده و منتقد فرویدی، ناتوانی هملت درحیطه عمل را - در ساحت روانکاوی بزعم ژیل دولوز با کشیدن مثلث خانوادگی (من - پدر- مادر) توضیح میداد. در این سه ضلعی پدرمدارانه ، خواننده مجال این را پیدا میکرد تا هملت را "ادیپی سازی" کند. یعنی همانند ادیپ، هملت هویت خود را پنهان در عشق ممنوعه به مادر و نفرت از هییت پدرانه می یافت. بواسطه این تعبیر کلینیکی هملت به جوانی مغموم تقلیل می یافت که دربستار مثلث ادیپی حبس شده وازکنش درجهان واقعی عاجزست. به گفته دولوز، این نمونه بارز امپریالیسم ادیپی ست که ادبیات کلان - یعنی آثاربرجسته جهان – برآن تکیه دارد. ادبیات کلان مسایل فردی و خانوادگی را در اولویت قرار داده وپیروآن، توان کنش فرد درفضای جمعی محدود می شود.
لیکن، مقاله حاضردرصدد ست که هملت را با بکارگیری پروژه های دولوز ازامپریالیسم ادیپی- که ویژگی اصلی ادبیات بزرگ (کلان) است –نجات دهد. به بیان دیگر، ادبیات کلان به ظن دولوز، مبتنی برچرخه روابط خانوادگی وازدواج است. خصیصه بارزآن پرداختن به حوزه خانواده، روایط و احساسات شخصی می باشد. ادبیات بزرگ ادبیات فردی است که به یاری اندیشمندان دهه های اخیر به ادبیات ؙخرد بدل شده تا از فردیت گرایی جدا شده و به فضای اجتماعی وسیاسی بپیوندد. حیطه ادبیات بزرگ با تکیه برمحدوده آشنا و بسته بزعم دولوز قلمروسازی می کند. قلمروسازی فرایندی ست که با تکیه بر آشنایی، حدو مرز، و چارچوب گذاری راه را برای معنی نهایی هموار می کند. این قلمروسازی بنیت وضوح و با تکیه بر معنای واحد راه را بر ناممکن ها و غیرمعمول ها می بندد. از منظر دولوز قلمروسازی همان فرایند ادیپی سازی ست- اولی زبان را در درچارچوب ارجاعیت و دومی فرد را در چارچوب خانواده محبوس می کنند. این بررسی پایانی برای ادیپی سازی هملت ست – یعنی روان نژندی حاصل دردهای خانگی را خاتمه می دهد. فانتزی ادیپ فروید منجربه استحکام هویت خودبسنده "دکارتی" نیز شده بود.بدین معنا که راه کار کلیدی فروید که "خود " را تنها علاج انسان متمدن می شمرد "خود" دکارتی مستقل و اندیشنده را نیزتقویت می کرد. این مقاله ایده ادیپی زدایی دولوز را دربرابر "خود" مستقل و عقل محور فروید ودکارت قرار می دهد. بمنظورفروپاشی آن، "قلمروزدایی زبانی " قادرست "من" مستقل که معنی واحد را نیزدر پی داشت درهم کوبد. هویت مستقل که بطور کامل و بسته بندی شده در ساختاری ثابت قرار دارد، اکنون در برابر گشایش ها و شدت های فرایند قلمروزدایی ودربرابرتبدیل ها وتغییرات آن، خود را نه دیگرسوژه ای واحد، بلکه جریانی روان وپویا می یابد. دراین قلمروزدایی، کارکرد اطلاع رسانی زبان متوقف شده ودال ها ازکنش ارجاعی سرباز زده و در نتیجه معنی واحد و غایی ازبین می رود. غیاب معنی، الگوی محاکات افلاطونی که بر "همسان سازی " استواراست ازمیان برمیدارد. چرا که بواسطه قلمروزدایی زبانی ، تمایزها و تفاوت ها در مقابل همسان های افلاطونی قدعلم کرده تا به سیطره بازنمایی خاتمه داده و به وانموده های قلمروزدوده فرصت ابرازوجود دهد. بنظرمیرسد که وانموده سازی که همان تولید تفاوت ها ست با پروژه ادیپ زدایی دولوزهمگام میشوند. این دو، پشت به الگوهای همسان و تکرارشده، به سوی ناهمسان ها که خلاق و آفرینشگرند حرکت کرده تا به کمک تولید تفاوت به "ادبیات ̕خرد " نزدیک شوند. بنابراین، منسوخ کردن همسان سازی که به وحدت و انسجامی موهوم وابسته اند در را بروی تفاوت هاو تناقض ها می گشاید. میل به برجسته سازی تنا قضات وناجوری ها با ایده نقض اصل درهم می آمیزند و سوژه خودبسنده دکارتی را از بندهای خانوادگی ادیپی آزادمی کنند. بدین ترتیب، می توان روند شکل گیری، فروریختگی وبازشکل گیری سوژه تراژیک را قدم به قدم دنبال کرد. این بررسی با بکارگیری زبان ریزومتیک بدون ارجاع به هیچ مرجعی، بازنمایی رئآلیستی رابه چالش می کشد. برعکس درخت که ریشه دارد و مسیررشدی مستقیم را دنبال می کند، ریزوم با بی ریشگی درهرکجا می روید ومسیررشدش نامعلومست. زبان ریزومتیک ازکنش ارجاعی سربازمی زند و برمرجعی واحددلالت نمی کند و بدین ترتیب پروژه قلمروزدایی زبانی اجرا می شود.به بیان ساده تر، زبان ریزومتیک برمرجع واحدی دلالت نمیکند زیرا ساحت ارجاع آن کثرت گراست. این زبان درتک تک حوادث با نقش مؤٌثرو غیرقابل انکاری درخلق اعماق تاریک ، فضاهای ناممکن، وضعیت ناممکن سوژه ها به خواننده امکان این را می دهد که قلمرو "من ادیپی" و "من هملتی" را قلمروزدایی کند.
کلیدواژه ها: وانموده – ادبیات خرد – ضدادیپی – قلمروزدایی زبانی – زبان ریزوماتیک
لازم به توضیح ست که کلیه مترادف ها ی فارسی با رجوع به منابع ذیل انتخاب شده است:.
ماکاریک، ایرناریما(١٣٩٠) دانش نامه ی نظریه های ادبی معاصر.ترجمه مهران مهاجرو محمد نبوی. تهران؛ نشرآگه.
دولوز، ژیل وگاتاری،فلیکس(١٣٩٢) کافکا: به سوی یک ادبیات ҆خرد. ترجمه رضا سیروان ونسترن گوران. تهران؛ انتشارات رخ دادنو.
Rakhshandeh Nabizadeh-Nodehi; Sheedeh Ahmadzadeh-Heravi
Volume 15, Issue 20 , April 2018, , Pages 221-243
Abstract
Madness and its manifestations have long been one of the themes treated and diversely depicted in literary works. Shakespeare is among the many authors who have represented this phenomenon in a number of his tragedies through the creation and introduction of a few complicated outstanding characters. ...
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Madness and its manifestations have long been one of the themes treated and diversely depicted in literary works. Shakespeare is among the many authors who have represented this phenomenon in a number of his tragedies through the creation and introduction of a few complicated outstanding characters. His treatment of this issue, according to many critics, is innovative and far from conventional and traditional notions; thus this phenomenon and those who are affected by it can be viewed and analyzed in the light of contemporary theories. Shakespeare particularly creates a peculiar language for the insane personages, which reflects their state of mind and becomes their common feature. In this article, the discourse of four such characters in three major Shakespearean tragedies – Hamlet, King Lear, and Macbeth – will be discussed in the light of Julia Kristeva’s linguistic theories regarding the semiotic and symbolic dispositions with the assumption that the discourse of madness in these plays is an outcome of the emergence of semiotic features in the symbolic disposition.
Moslem Zolfagharkhani
Abstract
Introduction Ecocriticism in literature concentrates on literature and the environment or the Nature; it means it focuses on literature and the physical environment. Such study calls for collaboration between natural scientists, writers, literary critics, anthropologists, historians, and other disciplines. ...
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Introduction Ecocriticism in literature concentrates on literature and the environment or the Nature; it means it focuses on literature and the physical environment. Such study calls for collaboration between natural scientists, writers, literary critics, anthropologists, historians, and other disciplines. Poets and authors have always been under the influences of the world around and the environment so that nature changed to be a source of inspiration to them. Background Studies Ecocriticism and Environmental literary studies were first introduced to the world of literature in 1970 in world’s most important assembly “The Western Literature Association” (WLA). After the Industrial revolution, human being transformed his connection with nature and started to experience a new season in his life. The earlier connection was based on a mutual relationship, but the new one was entirely shifted to something far from a mutual link. In other words, after the Industrial revolution, human being occupied an upper position and nature suffered from a banal one. Incidentally, the ecocritics enjoy various methods of analysis in their studies; some believe that nature is not more than a humanized structure which some poets like William Wordsworth started to form in their works. Many of these critics put nature as a counterpart of culture, or identify nature as instinct. Instinct is the main inner motive which transfers its effects to other creatures. It is identified with nature or the animal’s desire to do profitable deeds. Materials and Methods The present study attempts to reveal ecocritical works and thoughts of two most significant Persian and American poets/authors, Nimā Yushij (1897-1960) and Ralph Waldo Emerson (1803-1882). To do this, the poetry and the letters of Nimā together with Emerson’s book titled Nature (1836) have been selected. It is indicated how Nimā and Emerson’s idealism is closely related to nature, and how it is based on Human-God-Nature-Justice circle. It is shown that nature is the major source of this circle. Hence, the present study, by the use of American School of Comparative studies, while applying a library-analytical approach, tries to compare and contrast the major thoughts of Nimā Yushij and Ralph Waldo Emerson due to their literary environmental writings. Furthermore, it is emphasized that these two poets belong to different languages and literatures; however, as far as the American School is based on Eclecticism in comparative studies, it is hoped that the major nature-oriented themes and ideas of these poets might be revealed in this essay. It should be also considered that the American School of comparative studies does not concentrate only on the effects or influences in literary studies; to such school, literary movements, genres and literary types, and the topics and themes of world literature are the fundamental spots of studies. Results and Discussions The study discloses how Emerson’s outlook to nature is more philosophical than Nimā’s. When he talks about nature his idealistic motives start to appear. Both poets insist on the unity of human being and nature by unifying human history and natural history. The beauty of nature is another major theme of their poetry; both look at nature as the source of beauty and its pleasures. Emerson believes that the ultimate end of the cosmos is a desire to the beauty. Why human being is so much interested in the beauty is beyond the thoughts and logics of man. Furthermore, Nimā’s ecocritical tendencies are closely related to coexistence of man and nature, and the poet’s thoughts are not separated from the beauties of nature and its inspiration. Nature, environment, and the world around are at the core of both Nimā and Emerson’s thoughts and writings. To live naturally and to get involved with nature are their ideal way of life. To them, solitude and primitivism are man’s solution to release him/her from the chains of society. Both of them complain about human being’s distance from nature; they believe that solitude is mankind’s opportunity to conform his/her soul to nature.
Binazir Mohammad Alizadeh
Abstract
Songs play an influential role in some specific genres of audiovisual products such as musical animations. In recent years, audiovisual translation has attracted a worldwide attention, yet relatively little research has been conducted on song translation, highlighting the need for more research and study. ...
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Songs play an influential role in some specific genres of audiovisual products such as musical animations. In recent years, audiovisual translation has attracted a worldwide attention, yet relatively little research has been conducted on song translation, highlighting the need for more research and study. The present research was an attempt to investigate the singability of songs in Persian dubbed animation, as it has not been studied thoroughly in the Iranian context. The model which was a combination of two models for analyzing singability of songs Franzon’s (2008) and low’s (2003, 2005, 2008) —the pre-existing music, prosodic match, poetic match, semantic–reflexive match, sense, naturalness, lip-synchronization—were applied to the songs translated in the dubbed versions of eleven English language animations to explore the methods of song translation and singability. The initial analysis suggested that more than half of the songs were left untranslated in the dubbed versions that means the viewers had this chance to listen to songs in English. The other side of the analysis suggested the dubbing team adapted the translated lyric to music in most cases, which shows it was important for them not to change the music. Further analysis revealed that elements of prosodic match, poetic match and semantic-reflexive components were preserved and recreated in somecases in the dubbed version even though they were also affected by the lip-synchronization, as a dubbing constraint.
Volume 6, Issue 1 , October 2013
Volume 7, Issue 1 , June 2014
Abstract
Metaphor and simile are two figures of speech widely used by Shakespeare in his great tragedy, Macbeth. In this corpus-based descriptive comparative study, three Persian renderings of Macbeth by Shadman, Pasargadi, and Ashouri were examined. Newmark’s procedures (Newmark, Approaches 88) for translating ...
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Metaphor and simile are two figures of speech widely used by Shakespeare in his great tragedy, Macbeth. In this corpus-based descriptive comparative study, three Persian renderings of Macbeth by Shadman, Pasargadi, and Ashouri were examined. Newmark’s procedures (Newmark, Approaches 88) for translating metaphors and Pierini’s strategies (Pierini 31) for similes were employed as the frameworks of the study. Analyzing 260 randomly selected metaphors and 66 similes based on Morgan’s table of sample size, the researcher concluded that the most frequently used strategies for translating metaphors in the translations were “reproducing the same image” (Newmark’s most preferable strategy), “conversion to sense”, and “replacing the image”, which were mostly observed in Shadman, Pasargadi, and Ashouri’s renderings respectively. Pierini’s suggested strategy, “retention of the same vehicle”, has been mostly applied by Shadman. Chi-square statistical procedure indicated that the difference between the three translators’ applied strategies was not significant for the metaphors and similes
Volume 6, Issue 2 , June 2014
Abstract
In Jacques Derrida's "The Law of Genre", his opposition with generic exclusivity is materialized through "law" and "counter law" concepts. He believes that the best position for enunciating any kind of generic specification would be an aporetic position between "law" and "counter law" positions. In the ...
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In Jacques Derrida's "The Law of Genre", his opposition with generic exclusivity is materialized through "law" and "counter law" concepts. He believes that the best position for enunciating any kind of generic specification would be an aporetic position between "law" and "counter law" positions. In the present study, the ambivalent position of George Bernard Shaw's plays towards the institution of marriage will be studied though utilization of such Derridean theoretical framework. For materialization of the theoretical framework, a number of French well-made plays will be considered so that their endogamic and exogamic positions towards the issue of marriage can be regarded as the "law" and "counter law" Derridean positions. Taking these fixed and unitary positions in French well-made plays into account, Shaw's ambivalent regard towards the institution of marriage will be positioned in the aporetic space between endogamic and exogamic positions. In the present study, Shaw's mastery of well-made techniques will be explicated and at the same time, his escape from those techniques will be represented. Such escape depicts Shaw's critical attitude towards intellectual, social and religious trends of his contemporary time
ali karimi firozjaei; Mohammadreza Ahmadkhani; Nahid Abbasi
Abstract
Stories reflect intellectual and cultural foundations of each society and discovering the elements of the infrastructure and underlying layers of story, represents social specifications of each nation. This research is tries to apply semiotic approach and pattern of Gramies actors in the analysis of ...
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Stories reflect intellectual and cultural foundations of each society and discovering the elements of the infrastructure and underlying layers of story, represents social specifications of each nation. This research is tries to apply semiotic approach and pattern of Gramies actors in the analysis of Tajik children and adolescence stories and find out the cultural and educational infrastructural latent in these in that country. For this purpose, 5 stories from 100 Tajik children and adolescence story books as targeted sampling have been chosen. The findings of this research show that these stories try to lead and approach addressee to notions and messages such as self esteem, helping the oppressed, brevity, respecting parents, freedom and preventing some beliefs or concepts such as laziness, arrogance and tyranny.
HOMAYOUN ESLAMI; mohammad Reza farsian
Volume 15, Issue 20 , April 2018, , Pages 33-49
Abstract
In this article we carry out a comparative analysis of the first volume of The Thibaults written by Roger Martin du Gard (1881-1958), in French, published in 1922, with its translation in Persian, done by Abolhassan Najafi (1929-2016), published for the first time in 1989. Our goal is to recognize the ...
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In this article we carry out a comparative analysis of the first volume of The Thibaults written by Roger Martin du Gard (1881-1958), in French, published in 1922, with its translation in Persian, done by Abolhassan Najafi (1929-2016), published for the first time in 1989. Our goal is to recognize the efficiency of the seven procedures of comparative stylistics according to Vinay (1910-1999) and Darbelnet (1904-1990). They include borrowing, calque, literal translation, transposition, modulation, equivalence, adaptation.
To do this, we extract examples of each procedure from these texts. By analyzing some of them, we try to identify the structural and stylistic differences between two texts (and two languages). The key problems that we intend to respond are whether these procedures alone can explain all existing events of translation. And if the answer is negative, what’s the problem? And to solve the problem, what reforms do we need?
Volume 11, Issue 15 , October 2015, , Pages 73-91
Abstract
Sam Shepard’s dramatic vision, like Jacques Derrida’s philosophy, observes not a world securely supported by metaphysical certainties, but one of discards and throwaways appeased by landscapes filled with fragments and debris. It is, therefore, pointless to employ traditional methodologies to extract ...
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Sam Shepard’s dramatic vision, like Jacques Derrida’s philosophy, observes not a world securely supported by metaphysical certainties, but one of discards and throwaways appeased by landscapes filled with fragments and debris. It is, therefore, pointless to employ traditional methodologies to extract meaning out of a drama designed to resist this sort of interpretive strategy. If there is no methodology capable of resolving the fractured and indeterminate nature of Shepard’s drama, then it is essential to approach these plays from a perspective (deconstruction) that is unafraid of uncertainty and is not disappointed by an inability to arrive at a final and authoritative reading. Shepard’s resistance against the urge to create “closed” and “finished” texts reminds one of a major subject of poststructuralist/deconstructive concern: “closure,” which—because it stifles the interpretive process—must be recognized and avoided. This article is devoted to the examination of how Shepard, who is committed to an artistic vision that accepts indeterminacy, manages to end a play without limiting its interpretive possibilities; A Lie of the Mind is the text which will be studied to that end.
Bahareh Bahmanpour; Amir Ali Nojumian
Volume 14, Issue 19 , October 2018, , Pages 77-97
Abstract
The present article is based on the hypothesis that immigration, in all shapes or forms (either as a forced exile or a voluntary displacement), is an unsettling and traumatic experience which leads to the formation of traumatized subjectivities. This trauma (also referred to as "diasporic trauma" or ...
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The present article is based on the hypothesis that immigration, in all shapes or forms (either as a forced exile or a voluntary displacement), is an unsettling and traumatic experience which leads to the formation of traumatized subjectivities. This trauma (also referred to as "diasporic trauma" or "trauma of displacement") is, like many other types of trauma, transgenerational: that is, it affects not only the lives of the first-generation diasporic subjects but also the diasporic experience of their descendants by problematizing any illusory sense of a coherently hybrid self. Since from the view of many trauma theorists, literature (from autobiography and testimony to fiction and poetry) highlights the problematics of the representation and the narrativization of trauma; the present article, then, aims to explore the possibility and the means of the literary representation of trauma of displacement in diasporic literature. Employing the Post-Freudian psychoanalytic theory of trauma within a diasporic context, it thus opens up new avenues to offer a psychoanalytic study of the diasporic trauma in Lahiri's trilogy of "Hema and Kaushik" (including, "Once in a Lifetime," "Year's End," and "Going Ashore") from her Unaccustomed Earth (2008) through the lens of Nicolas Abraham and Maria Torok's theory of hauntology—particularly their notion of the phantom, the two processes of introjection and incorporation, and the crypt. Drawing on the dead-mother metaphor around which the whole trilogy revolves as well as underlining the notion of afterwardsness which is circuitously performed within the unconscious structure of the whole text, it thus argues that trauma of displacement whose psychoanalytic pain amounts to that of being ripped off the mother's womb and a life-long exposure to the phantom of an absent/present mother is so disconcerting and deep that it takes it about a generation (if not more) to be resolved and to be possibly put to rest. This possibility, of course, can be only opened up if the diasporic subject has, often transgenerationally, acknowledged, claimed, and confronted the phantom of the loss of the motherland and has even begun a belated mourning process for it. This process, however, as Lahiri's texts suggest, does not often run smoothly since the diasporic subject constantly, though unconsciously, incorporates (rather than introjecting) that constitutive element of loss at the core of his/her subjectivity by activating a series of defense mechanisms, erecting dysfunctional crypts, and getting stuck in a vicious circle of acting-out (rather than working through).
Rana Raeisi
Volume 14, Issue 18 , June 2018, , Pages 87-101
Abstract
The drama Emilia Galotti shows a picture of the society, in which women are dominated by men and don’t have necessary social value. In this society most men, especially the Powers, have sexual and degrading look at women and don’t respect them at all. The women in this tragedy are the second sex ...
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The drama Emilia Galotti shows a picture of the society, in which women are dominated by men and don’t have necessary social value. In this society most men, especially the Powers, have sexual and degrading look at women and don’t respect them at all. The women in this tragedy are the second sex and under the subjection of the men. They are quite traditional, like Emilia and submit their self fully to others opinions, or like Klaudia try to pass the tradition or like Orsina have intellectual ideas, but also reflect the standards of the mail-dominated society in their thoughts and behaviors.
This drama has a feminist message for women: they should recognize their intrinsic value and don’t allow to become tools of debauchery of men and should think about events, of course, they should know that this is contrary to the wishes of men in the mail-dominated society and will certainly face resistance. They should seek their rights however it would look bad in the eyes of men.